Why It Is So Hard to Get Breakfast in Japan (with a dream cameo from the Gemini Donald Trump)

New Note (2025): Since this piece was first published, Japanese Breakfast the band has gotten even bigger, Michelle Zauner wrote another book, and the cultural universe has shifted enough times that some aspects of this essay may be outdated. I’ve kept the original text intact because the dream-logic and breakfast-logic still stand.

I live in Kyoto, Japan, and after many years here I’ve traveled pretty widely—especially in the greater Tokyo area. Traveling in Japan is pretty easy as long as you can manage a little spoken Japanese and read a train map. The trains are famously efficient and connect most of the country, including every major city.

I haven’t driven a car here in more than fifteen years and don’t miss it at all. Trains and taxis get the job done just fine. Overall, I love traveling in Japan and I love exploring Tokyo, a city that contains worlds within worlds. I have almost no complaints about Japanese travel.

Except for one.

It is nearly impossible to get a good breakfast—or really any breakfast—when you’re on the road.

Now, it’s not that Japanese people don’t eat breakfast. They do. The archetypal morning meal—rice, miso soup, maybe a little fish—is as recognizable in its way as the “full English” of sausages and beans. But the Japanese breakfast is overwhelmingly a home operation. Once you’re traveling, the options narrow to two—two and a half, if we’re being generous.

I. The Hotel Breakfast

Mid-price and nicer hotels usually offer a breakfast buffet with “Japanese” (rice, miso, maybe grilled fish) and “Western” (toast, jam, and some ambivalent eggs) selections. Except at the truly top-tier hotels, these buffets manage to be both overpriced and bad. A traveler is lucky to escape for ¥1,500–¥1,800 (about fifteen dollars before the yen weakened), and more commonly pays north of ¥2,000 for a pretty uninspired spread.

Budget hotels often don’t offer breakfast at all.

In my experience, Japanese hotel breakfasts are among the weakest anywhere in the world. I take this as symptomatic of a broader truth: Japanese people simply don’t care about breakfast when they’re on the road—and maybe not all that much at home either.

II. The Convenience Store (“Combini”) Breakfast

When I have raised the issue of the lack of decent breakfast in Japan, Japanese people usually point me to the convenience store. And it’s true: you can purchase food and coffee at any of the ubiquitous combinis—Family Mart, 7/11, Daily, Lawson, and the rest. They’re open 24 hours, and they stock a range of items that theoretically qualify as breakfast. Hard-boiled eggs, yogurt, rice balls, steamed buns, fried chicken, sometimes bananas, and of course hot and cold coffee.

I’ve certainly been in situations where I had no choice but to fall back on the combini for breakfast while traveling. And this is…fine, to an extent. But most combinis have nowhere to actually sit and eat, and in any case you can’t really call a combini breakfast nice.

Most Japanese folks seem to regard a combini breakfast as perfectly acceptable—desirable even. And while one can admire the low expectations, or the cultural pragmatism behind them, it’s possible to admire those qualities and still wish for more.

III. Starbucks or a Local Coffee Shop

Starbucks are fairly common in major cities and usually open at 7 a.m. (if you’re lucky) or, more commonly, 8 a.m. They should really open at 6. The food offerings are overpriced, and Starbucks has never truly figured out its food—which remains baffling. Still, one can grab a few combini items and smuggle them in, or settle for a four-dollar fragment of quiche with your Americano. I would not classify Starbucks as having breakfast, per se, but they are pleasant enough to sit in, and one can create a simulacrum of breakfast there.

Then there are the local coffee shops. These, fortunately, often open at 7 a.m. or even earlier, and serve strong coffee—often brewed by hand at the counter with a drip filter—and a breakfast that nearly always consists of a single piece of white toast and an egg. White toast, egg, and handmade coffee with old guys reading the paper around you is, I admit, at least an approximation of breakfast, and I have certainly relied on this setup while on the road.

But it’s still not quite what we are looking for if we want a hearty, balanced breakfast. There is no French toast, no fruit bowl, no omelette, and only very occasionally a strip of bacon. None of the staples one might reasonably expect from a decent, full breakfast.

And that’s more or less the list. You can also find 24-hour beef-bowl restaurants, but they are cheap as and not exactly the sort of thing you look forward to when greeting the day. Beyond that, most restaurants simply don’t open until 11:00 or 11:30 for lunch. The concept of brunch—dicey even under ideal circumstances—barely exists outside the swankiest of upmarket hotels.

It is, put bluntly, really hard to find a proper breakfast in Japan unless you make it yourself. And that fact continues to puzzle me. I understand that most people here eat rice and miso at home, or grab something at the convenience store. Fine. But metropolitan Tokyo has roughly 30 million people. None of these 30 million want a real breakfast at 7:00 or 7:30 a.m.? Not even a few hundred thousand?

It seems incomprehensible. And yet, incomprehensible or not, this is simply the reality. There is no broad Japanese market for breakfast. I mean, I’m in the market—but apparently one man does not a demographic make.

Go figure.

Now, I’ve covered the issue of Japanese breakfast—its scarcity, its odd cultural positioning—to the best of my ability. But before we move on, I want to add a few details that may seem unrelated. Let’s see if we can get them to connect.

Because the truth is, I dream about getting breakfast in Japan. And in a surprising number of these dreams, the Trumpster shows up.

More precisely: the dreams focus on the fact that the Trumpster and I share a birthday (June 14th), which makes us both late Geminis. Late Geminis, I have good reason to believe, are uniquely dangerous and slippery. But in my dreams the Trumpster isn’t dangerous at all. He shows up as basically an empty suit.

Trump/ Breakfast Dream I:

I am at a breakfast buffet in Japan. This is at a hotel that I am not staying at, and I may indeed be attempting to crash the buffet while masquerading as a hotel guest. Trump is there with an entourage, and he sees me staking out the buffet. I make a comment to him that we are both late Gemini, and he nods, curtly but with some minimal consideration. He sees me trying to steal the breakfast, does not care, and would probably provide cover if it came to that. He and I are not aligned, but nor are we enemies.

Trump/ Breakfast Dream II:

I am outside in the morning, standing on a dock or something of that nature. I am looking for breakfast, and not finding it. There is a commotion above me to the east, and I realize that Trump is being rolled out, literally on like coaster wheels, for a speech. He is on some kind of sliding seat and when this seat hits the balcony he stands up and postures about like Mussolini. I am watching and he sees me watching, but continues with his Mussolini act. I realize quickly that this is a total act and that he doesn’t even want to be there. He is not dangerous in this moment or in this speech, just faintly ridiculous. Still, no breakfast.

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What do Trump and breakfast have to do with one another? I’m not sure yet. But I do know that Trump, although maligned by nearly everyone I know (I know a bunch of liberals), and apart from being an egotistical, mafia-adjacent, easily flattered, shape-shifting sociopath, is also pretty funny. Before I lose half of my readership, I’ll just nod to the comedian Shane Gillis, who made this point several months after Trump left office.

Has enough time passed that we can admit Trump was funny? Can we finally admit that he was funny? (…) He was funny (…) I saw it. I’d show my friends I’d say look at that. They’d be like “what?”

“It’s funny.”

“There’s nothing funny about Donald Trump.”

I don’t know, during Hurricane Dorian he was like “maybe we should nuke it” (…) Like that was a real suggestion from the President (…) “Hey we got a big storm coming, you want me to blow it up?”

They were like “no, what the fuck are you talking about?”

“I don’t know, I fuck around dude. It’s what I do.”

“I fuck around, it’s what I do,” is a great summary of Trump’s whole approach to governing. Now, is there anything funny about his terrible immigration policies, his attempted pressure of the Georgia secretary of state to “find” 1800 votes, his total disregard of democratic norms? No, not really. But is there anything funny about his speculation that maybe a little light and a little bleach could cure COVID? Why yes, there is. Is there anything funny about his noting that Frederick Douglas is getting bigger and bigger these days? Yes indeed. Is the way he pronounces “huge” funny? It’s funny to me anyway. And in my dreams, the two above being part of a series of about four or five total Trump breakfast dreams, he always shows up as semi-defanged, basically neutered, and non-dangerous. I think this is because, as a fellow late Gemini, I kind of have Trump’s number. It takes a late Gemini to know one, and I know this guy. In fact, I see right through him, to the extent that I know he’s not even there.

One other salient piece of data, there is an indie rock band called Japanese Breakfast that is getting bigger and bigger these days (they tell me “sir, this Japanese Breakfast is getting bigger and bigger these days, and I say look at that, wow, this Japanese Breakfast is really getting huge”). I don’t know them that well, but they sound like the kind of band I would like. I do wonder though if their name is not an ironic nod to the fact that Japanese breakfast is not a thing. Is the band name self-effacing, or even self-erasing? Does Japanese Breakfast the band exist at all? Does Trump? There is a way in which the Trump presidential term has come to feel like a fever dream or collective delusion, a set of events that cannot really have occurred as we recall them. In this sense, the Trump presidency may in the future be subject to Phantom Time Hypothesis speculation. And he and his handlers have already played right into this speculation what with their first lady doubles, the totally unhinged press conferences with the ubiquitous helicopter waiting in the wings, and the classic Trumpism, “we’ll see what happens.”

Here is what I think. Japanese Breakfast as a band exists. The Trumpster exists, but his wife spent most of her time in the White House being doubled. Trump and I are dream doubles, and I have his number. Japanese people don’t care about breakfast. And I am always starving at around 9 AM when on the road in Japan. Someone should look into the matter. I hear the Trumpster is free these days, maybe he’s the guy for the job.

Note: If you enjoyed this piece, you may also like the pieces below which also deal with American politics, albeit from a slightly different angle.

https://thekyotokibbitzer.com/2025/11/25/on-the-federal-age-of-consent-a-reply-to-alan-dershowitz/

On Kris Kristofferson’s “To Beat the Devil”

This piece takes a look at Kris Kristofferson’s “To Beat the Devil.” The song appears on Kristofferson’s self-titled debut album from 1970 on Monument, which is, by any standard, an astonishingly good record. The album features “Me and Bobby McGee,” “Sunday Morning Coming Down,” and “Just the Other Side of Nowhere,” along with the ol’ Devil. That’s four absolute classics right there for ya.

Sunday Morning features an opening quatrain that most other songwriters would trade their career for:

Well I woke up Sunday morning/ with no way to hold my head that didn’t hurt/ and the beer I had for breakfast wasn’t bad/ so I had one more for dessert

(I could play this game all day—Jason Isbell’s Southeastern features another couple life-work worthy couplets:

The first two lines of “Super 8”:

Don’t wanna die in a super 8 motel/ just because somebody’s evening didn’t go so well

And from “Different Days”:

Time went by and I left and I left again/ Jesus loves a sinner but the highway loves a sin.

If I’d written lines that great I’d call it a career and sip martinis on the house for the duration.)

Sunday Morning and Bobby are probably objectively better songs than To Beat the Devil, yet what I like about this one is that Kristofferson states very clearly a kind of founding intention for his life in song and art, right out of the gate. The only parallel I can think of is Craig Finn’s The Hold Steady, whose first album Almost Killed Me kicks off with “A Positive Jam.”

(Here’s Finn telling it like it is:

I got bored when I didn’t have a band/ so I started a band/ we’re gonna start it with a positive jam/ hold steady.

Rock on Craig baby.)

Anyway, let’s get to the focus of this piece. Kristofferson opens with a spoken intro.:

A couple of years back I come across a great and wasted friend of mine in the hallway of a recording studio. And while he was reciting some poetry to me that he had written, I saw that he was about a step away from dying, and I couldn’t help but wonder why. And the lines of this song occurred to me.

Here the singer is looking up at his idol who is both “great and wasted.” I wasn’t around quite yet in 1970, yet I can easily imagine Ginsberg’s “best minds” line hanging over talented folks across a lot of zones. Klosterman wasn’t quite there either (June 5, 1972–a mid Gemini of course), but he was close, and to indulge not for the last time in a little Klostermania, the zeitgeist seemed to be making people thirsty.

The singer receives some scraps of poetry, shards of shattered inspiration, and a song “occurs” to him. He doesn’t state it directly, however we imagine the song arrives fully formed, like “Pancho and Lefty,” or “Kubla Khan.” Thus, To Beat the Devil is also both an answer and an offer of redemption to his idol, who here is John(ny) Cash.

I’m happy to say he’s no longer wasted, and he’s got him a good woman. And I’d like to dedicate this to John and June, who helped showed me how to beat the devil.

The singer takes up the mantle of the master, and in so doing opens a possibility window onto redemption for his senior. This is no exaggeration—Cash also recorded To Beat the Devil in 1970 and we are basically stipulating that Kristofferson’s genius, descended from Cash while also original to himself, helped rescue Cash from addiction and the whole deal there. We won’t be deep diving into the archive on this one—as we said we’re just keeping it local and breaking it down, so you’ll have to take my word on it or search it up your own self.

Here’s the first verse; the words speak for themselves:

It was wintertime in Nashville/ down on Music City Row/ and I was looking for a place/ and to get myself out of the cold/ to warm the frozen feeling that was eating at my soul/ keep the chilly wind off my guitar

A classic down and out in the big city piece of scene-setting. The singer is physiologically and psychologically frozen, a cold wind gusts across his art. The man needs a break.

My thirsty wanted whiskey/ my hungry needed beans/ but it had been a month of paydays/ since I’d heard that eagle scream/ so with a stomach full of empty/ and a pocket full of dreams/ I left my pride and stepped inside a bar

You might think that the operative nouns here would be “thirst” and “hunger,” but no. This is not a man with a thirst; this is a thirsty man. We also hear an echo of a now-ancient American past where a man with an empty stomach would go in search of, of all things, “beans.”

Anyway, he’s got no money, can’t really bring himself to care. So, a singer walks into a bar.

Actually I’d guess you’d call it a tavern/ cigarette smoke to the ceiling
and sawdust on the floor/ friendly shadows/ I saw that there was just one old man sitting at the bar/ and in the mirror I could see him checking me and my guitar/ and he turned and said/ come up here, boy, and show us what you are/ I said I’m dry, and he bought me a beer

The man in the mirror, the devil himself. The singer comes face to face with the man who checks him out and summons him over. Kristofferson then enters into a bargain–offers up the terms of an encounter: a beer on the old man’s tab. Score one for the thirsty man. The singer faces the old man; it’s to be a showdown. He doesn’t have much, but he’s got some “friendly shadows,” traces of an older map perhaps, an older memory.

I can’t help here but engage in a bit of presumption. When I play the song in my head, I want to hear “in the mirror I saw him casing me and my guitar,” (listen to the way he pronounces “guitar” on the track. Kristofferson was born in Brownsville, Texas in ‘36 and behind the laid back folksinger you can here some roots here baby).

If I could make one edit to the song, it would be to replace “checking me,” with “casing me.” What a great verb “to case” is.

Lexical Interlude: “To case the joint”

1. slang To observe a place in order to familiarize oneself with its workings in preparation for some criminal activity (often robbery). Judging from the security footage, those men cased the joint hours before robbing it.

2. slang By extension, to thoroughly examine a place. In this usage, no devious motive is implied. As soon as my kids walking into the hotel room, they started casing the joint, exclaiming about everything from the TV to the mini-fridge.

The seminal use of this verb phrase comes from Bill Callahan, formerly of Smog. Callahan is an odd duck—he is so artificial, so obviously self-created as an entertainer, that he has become almost post-authentic.  Callahan contains multitudes.

My favorite Smog album, well in the top two, is Red Apple Falls, which features “Ex-Con,” on which Callahan sings: 

Jean jacket and tie/ feel like such a lie/ when I go to your house/ I feel like I’m/ casing the joint

Devious motive implied.

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He nodded at my guitar and said/ it’s a tough life, ain’t it?/ I just looked at him/ he said “you ain’t making any money, are you?/ I said, you been reading my mail/ he just smiled and said, let me see that guitar/ I got something you ought to hear/ and then he laid it on me

The devil has a bead on the singer, and he’s not far off.  Yes he’s broke.  Yes he’s down and out.  Whaddaya want?

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Filmic Interlude I: The Long Goodbye

In Robert Altman The Long Goodbye, written by Leigh Brackett, the main character Philip Marlowe gets out of jail somewhere in the first act and heads to a all-purpose pit stop restaurant who’s owner apparently collects Marlowe’s mail. The dialogue is exquisite.

Marlowe: You got any messages for me?

Owner: Believe we’ve got a few over there. As a matter of fact, you’ll find my phone bill in there too.

Marlowe: I wouldn’t worry about that.

When you ain’t got nothing you got nothing to lose. Kristofferson’s got nothing to hide in his mail. Those bills go straight to the wastebasket.

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If you waste your time a talkin’ / to the people who don’t listen/ to the things that you are saying/ who do you thinks gonna hear?/ and if you should die explaining how/ the things that they complain about/ are things they could be changing/ who do you thinks gonna care?

there were other lonely singers/ in a world turned deaf and blind/ who were crucified for what they tried to show/ and their voices have been scattered by the swirling winds of time/ ‘cause the truth remains that no one wants to know

The devil’s words speak for themselves. The path of the troubadour is a dead end. The world has not ears to hear nor eyes to see. Truth tellers meet a bad end. Whiners gonna whine. It’s a strong opening bet, made, we presume, with his red right hand.

Well the old man was a stranger/ but I’d heard his song before/ back when failure had me locked out/ on the wrong side of the door/ when no one stood behind me/ but my shadow on the floor/ and lonesome was more than a state of mind

The singer is on familiar territory; he’s has been tempted by this cynical incantation, he’s not immune to tuning out his calling when out in the cold. Who is?

You see, the devil haunts a hungry man/ if you don’t want to join him/ you gotta beat him/ I ain’t saying I beat the devil/ but I drank his beer for nothing/ then I stole his song

This is the key verse in our little tale. You see, when we tango with the devil the devil usually gets to lead. That’s just the way it goes. But the thing about the devil is, his game is a bit of a bluff. A couple of low pairs, maybe. You just gotta call.

and you still can hear me singing/ to the people who don’t listen/ to the things that I am saying/ praying someone’s gonna hear/ and I guess I’ll die explaining how/ the things that they complain about/ are things they could be changing/ hoping someone’s gonna care

I was born a lonely singer/ and I’m bound to die the same/ but I’ve gotta feed the hunger in my soul/ and if I never have a nickel/ I won’t ever die ashamed/ ‘cause I don’t believe that no one wants to know

Kristoffeson flips it right around. The devil’s got a point; the singer may die dead broke, that’s fine. Songs are borne on the wind in any case. The thing is to have faith in your audience. To believe someone is out there, heart in their hands and ear to the wind. And to hold this faith as a mantra. That’ll keep ‘em guessing, cause then you’re not playing their game, you’re playing your own.

Overall, To Beat the Devil is a young man’s song. It’s got a confidence, a swagger, even a hubris. So, after drafting most of this piece I wanted to find a recent live version, see how it’s aged. I stumbled on a version from a live set with Lou Reed released in 2017. The set is part of The Bottom Line Archive, and it finds Kristofferson in a Waitsian stage of life. The voice is richer than ever, but he’s not exactly singing. Then again, that’s what they said about Dylan and it’s B.S. The voice is the voice; singing is just a category.

The set is interspersed with short interviews of the two songwriters. Here is Kristofferson’s spoken introduction that precedes To Beat the Devil. It is instructive.

Interviewer: The devil figures in some of your songs, you know there’s that silver tongued devil and he pops up from time to time. Who’s the devil? What’s the devil for you? What are your demons?

K.K.: Well, I, I’ll do that song then. Ahhh…

Interviewer: Is that a metaphor or is that something real for you?

K.K.: Well here’s a song called To Beat the Devil. Maybe it’ll explain it. I can’t.